- spacial, social and other conditions of auricular activities
practical experiments about space as a musical parameter:
// inner ear activities //
// nodes & resonances //
// surround with one speaker //
// the space between the ears //
// social reverberations //
The workshop is conducted as an open format, offering several setups which require active participation of the attendants. It is based on musical pieces of the authors and other artists, such as:
"FYEO" [for your ears only] [noid]
"ohne mich wäre alles noch viel schlimmer" [without me everything would be even worse] [matija schellander]
"tinitoene" [tinnitus-tones] for victorian synthesizer and jing-hu [matija schellander & noid]
"music for 5 instruments and a gun" [noid]
"huddle" [noid]
"the drill" [by Matija Schellander]
"chambers" [by Alvin Lucier, 1968]
Matija Schellander and noid share a common interest and awareness in how different kinds of - not only physical -spaces are an integral part of the sound. The workshop can be seen as part of this research they are carrying out withmany years of experiments in live performance, sound installations and composition.
...some examples of what could happen:
Situation A: The whistleblower orchestra: Every participant working with sounds that only happen inside of his ears, while being part of an orchestra - imagining what the others hear.
Situation B: Exploring resonances and reverberation of objects and spaces with mobile devices and instruments.
Situation C: Starting from the same point everybody is walking away from each other, actuating the pneumatic horn once every minute, until your own horn is the only one you hear.
About the Performers
noid /aka arnold haberl, *1970, living in vienna
composer . performer . improviser | cello . electronic devices
His musical approach can be described as fundamental research. his works span a wide range of contradictory outcome, from solos to compositions for ensembles, from sound installations to videos. using electronics as well as acoustical instruments. consequently denying the borderline between music and sound-art. This lead him to collaborations with artists of different fields - choreographers, like fiadeiro, colette sadler, akemi takeya, philipp gehmacher, etc... visual artists as for instance alexander schellow, heike kaltenbrunner, erik hable or andré goncalves.
Matija Schellander, *1981, living in Vienna
Matija Schellander is an Austrian composer and improvising musician based in Vienna, mostly using double bass, modular synthesizer, and speakers: Processing input, moving air output. Schellander’s music is conceptual, but it never dismisses the non-rational, sensual communicational possibility intrinsic in music. In recent years he has focused deeply on music for double bass solo, developing a project consisting of three parts that incorporates space, movement, light and sound during his stay in Berlin in 2011/12. Another double bass solo project is new music for Dreyer′s Passion of Joan of Arc, commissioned by the Filmarchiv Austria in 2013.
- 空间的、社会性和在其他条件下的耳廓活动
关于空间，作为一个音乐参数的实践性试验：
// 内在耳部活动//
// 交点和共振//
// 以一个扬声器环绕//
// 耳与耳之间的空间//
// 社会反响//
基于以下的创作作品，工作坊和演出将是一个开放的状态，需要观众的积极参与：
"FYEO"[唯自己的耳朵能听见][noid]
"ohnemichwäreallesnochvielschlimmer"[若没有我每件事会变得更糟][matija&schellander]
"tinitoene"[tinnitus-tones]维多利亚合成器和京胡[matija schellander& noid]
"5种乐器和1把枪”[noid]
"杂乱、乱堆"[noid]
"钻头"[by Matija Schellander]
"厢"[byAlvin Lucier,1968]
MatijaSchellander和noid对于这一问题：不同种类的空间（不只是物理空间）是如何成为声音的一个不可或缺的部分上有着共同的兴趣和意识。这一工作坊可被认为是他们多年来做的关于“现场表演”、“ 声音装置”和“创作”的研究一部分。...以下是可能发展出的一些情况：
情景A: “吹口哨管弦乐团”：每位参与者都与只在其耳中发生的声音共处，同时也是一个乐团的一部分，想象其他人听到何种声音.
情景B: 运用移动装置和设备，探索物体和空间的共振和混响。
情景C: 每个人从同一点出发走离对方，每一分钟驱动气动喇叭一次，直至你只能听到自己喇叭的声音。
关于表演者
noid /aka arnold haberl, *1970, 现居维也纳
作曲家、表演家、即兴表演者|大提琴、电子装置
其做音乐的方法可作为基础理论研究，与此同时，他的作品交织着大范围矛盾的产物。从独奏到合奏的创作，从声音装置到视频影像，启用了电子设备和声学工具，从而否认音乐和声音艺术有边界线。
此举促使他与不同领域的艺术家合作，其中与之合作的编舞者就有Fiadeiro, Colette Sadler,Akemi Takeya和Philipp Gehmacher等，另外还有Alexander Schellow, Heike Kaltenbrunner,Erik Hable 和André Goncalves等众多视觉艺术家。
Matija Schellander, *1981, 现居维也纳
Matija Schellander 是一位活跃于维也纳的奥地利作曲家和即兴音乐人，他多数情况下使用低音提琴、模块化合成器和扬声器以处理输入和输出。
Schellander 的音乐是概念化的，但它们从未摒除匿于音乐中的非理性和感性交流的可能性。最近几年，他专注投入于低音提琴独奏音乐，其2011年12月在柏林期间，做了一个包含“集成空间”、“运动”、“光与声音”的项目。另一个低音提琴独奏项目是在2013年实施的，受到奥地利Filmarchiv 的委托，为Dreyer的《圣女贞德受难记》创作了全新的音乐。